At the pinnacle of the range is the ALEXA Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The Studio is a direct response to cinematographers requests for a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations.
Another key feature of the ALEXA Studio is its 4:3 sensor, which makes it the only digital camera (aside from the ARRIFLEX D-21) to boast true anamorphic capability. Anamorphic lenses create a unique, cinematic look that has been appreciated by directors and cinematographers for over half a century, and cannot be created in post.
TECHNICAL DATA:
Camera Type:
35 format film-style digital camera with optical viewfinder, rotating mirror shutter, integrated shoulder arch, built-in support for the ARRI Wireless Remote System (WRS), cmotion cvolution lens control system and ARRI Lens Data System (LDS).
Sensor
35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
Photosites
16:9 sensor mode: 2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video and ProRes
4:3 sensor mode: 2880 x 2160 for ARRIRAW, 2880 x 2160 down sampled to 1440 x 1080 (pillar box) for monitoring in EVF-1 and HD video (MON OUT only)
Operating Modes
Mirror shutter on or off. Switching takes approximately 3 seconds through camera display.
16:9 or 4:3 sensor mode. Switching takes approximately 15 minutes (currently update to a different SUP necessary). 4:3 is currently only available for ARRIRAW; a pillar box format is used for 16:9 EVF-1 as well as HD-SDI MON OUT; ProRes or DNxHD recording is currently not supported.
Regular or High Speed mode. High Speed mode requires license purchase. Switching takes approximately 40 seconds. 4:3 High Speed mode currently limited to 16:9.
Filter
Sealed behind-the-lens motorized filter mechanism provides optical flat or ND 1.3 (4.3 stops)
Frame Rates
16:9, mirror shutter off: 0.75 - 120 fps
16:9, mirror shutter on: 0.75 - 60 fps
4:3, mirror shutter off or on: 0.75 - 48 fps
Frame rate setting precision: 1/1000 fps
Shutter
Rotating mirror shutter (11.2º - 180.0º) or electronic rolling shutter (0.75 - 60 fps: 5.0º - 358.0º; 60 - 120 fps: 356º). Shutter angle setting precision: 1/10 degree. At some frame rates mirror shutter needs to be less than 180º.
Exposure Latitude
14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
Exposure Index
Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 and DCI P3 are the same except for 0.5 stops fewer in the low end at EI 160, 0.4 stops fewer in the low end at EI 200 and 0.2 stops fewer in the low end at EI 400.
White Balance
Separate white balance (red/blue) and color correction (green/magenta) adjustment through Auto or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level
Under 20 db(A) @ 24 fps, mirror shutter on and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to 'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to 'Rec low'.
Power In
Three inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. When running over 30 fps with mirror shutter on, voltage of 18V or more is recommended. 90 W power draw for camera and OVF-1 in typical use recording 24 fps to SxS PRO cards, mirror shutter on, without accessories.
Power Out
12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. Both RS and EXT connectors combined: up to 2.2A. ETHERNET: up to 1.2A. Maximum power draw is also limited by the power source.
Weight
ALEXA Studio camera body + SxS Module: 8.0 Kg/17.6 lb
Dimensions
Length: 402 mm/15.83", width: 268 mm/10.55, height: 241 mm/9.49
Environmental
-10° C to +45° C (+14° F to +113° F) @ 95% humidity max, non condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Assistive Displays
For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, electronic level, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. MON OUT only: Reel & clip number.
Control
Camera right: main user interface with a 3 transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: operator interface with illuminated buttons, button lock and card swap button.
In-camera Recording
Records Apple QuickTime files with ProRes encoding onto either one or two (Dual Recording) SxS PRO cards in 16:9 mode only. All codecs legal range with embedded audio, timecode and metadata.
Codec: QuickTime/ProRes 4444
Compression (1): '5:1
Bit Rate in Mb/s at 30 fps: 330
Bit Depth: 12
Color Coding: 4:4:4 RGB
Recording time in hrs:min (2): '0:22
Application: High
Recording Outputs
2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9) or HD-SDI video (16:9 only). Both with embedded audio, timecode, metadata and optional recording flag. ARRIRAW 16:9: 2880 x 1620, 4:3: 2880 x 2160. Both uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder. HD-SDI video 16:9: uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder with Variflag support.
Monitor Output
2x MON OUT BNC connector for uncompressed 1.5G HD-SDI video (4:3 or 16:9): 1920 x 1080, 4:2:2 YCbCr; legal range.
Image Processing
16 bit linear internal image processing. Target color spaces for ProRes, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.
Synchronization
Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and QuickTime/ProRes recording for 3D applications. Automated sync of lens settings for 3D applications in Master/Slave mode.
Playback
QuickTime/ProRes clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio
1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps. Audio is recorded uncompressed into the QuickTime/ProRes files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors
2x slots for SxS PRO cards (SxS)
2x BNC recording out HD-SDI, 1.5G/3G (REC OUT 1/REC OUT 2)
2x BNC monitoring out HD-SDI, 1.5G (MON OUT)
1x XLR 5 pin audio in (AUDIO IN)
1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN)
1x LEMO 16 pin external accessories (EXT)
1x Fischer 2 pin 24 V power in (BAT)
3x Fischer 3 pin 24 V remote start and accessory power out (RS)
1x LEMO 2 pin 12 V accessory power out (12 V)
1x LEMO 5 pin timecode in/out (TC)
1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT)
1x LEMO custom 16 pin electronic viewfinder (EVF)
1x LEMO 10 pin Ethernet with 24 V power (ETHERNET)
2x Fischer 5 pin Lens Control System (LCS)
1x Fischer 5 pin Lens Data Display (LDD)
1x Fischer 12 pin for CLM-2, CLM-3 or later (IRIS)
1x Fischer 12 pin for CLM-2, CLM-3 or later (ZOOM)
1x Fischer 12 pin for CLM-2, CLM-3 or later (FOCUS)
SD Card
For importing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA). Stores captured stills from the REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as logging files. Also used for software updates.
